gesäwon på æfter wætere wyrm-cynnes fela,
sellice sæ-dracan sund cunnian,

swylce on næs-hleopum nicras licgean,
þa on undern-mæl oft bewitigap

sorh-fulne sip

on segl-rāde,

wyrmas ond wild-dēor.

(b) Scan the 1st, 2d, 5th, and 6th lines.

(c) What aspects of Anglo-Saxon life present themselves in the various poetical selections you have read?

HONOURS.

ENGLISH.

SECOND PAPER.

1. (a) What soul was his, when, from the naked top
Of some bold headland, he beheld the sun

Rise up, and bathe the world in light! He looked-
Ocean and earth, the solid frame of earth

And ocean's liquid mass, in gladness lay

Beneath him:-Far and wide the clouds were touched,
And in their silent faces could be read
Unutterable love. Sound needed none,
Nor any voice of joy; his spirit drank
The spectacle: sensation, soul, and form,
All melted into him; they swallowed up
His animal being; in them did he live,
And by them did he live; they were his life.
In such access of mind, in such high hour
Of visitation from the living God,

Thought was not; in enjoyment it expired.

(b) I thought of Chatterton, the marvellous Boy,
The sleepless Soul that perished in his pride;
Of Him who walked in glory and in joy
Following his plough, along the mountain-side:
By our own spirits are we deified:

We Poets in our youth begin in gladness;

But thereof come in the end despondency and madness.

(c) There sometimes doth a leaping fish

Send through the tarn a lonely cheer;
The crags repeat the raven's croak,
In symphony austere;

(d)

(e)

Thither the rainbow comes-the cloud-
And mists that spread the flying shroud;
And sunbeams; and the sounding blast,
That, if it could, would hurry past;
But that enormous barrier holds it fast.

No officious slave

Art thou of that false secondary power
By which we multiply distinctions, then
Deem that our puny boundaries are things
That we perceive, and not that we have made.
To thee, unblinded by these formal arts,
The unity of all hath been revealed.

Oh! times

In which the meagre, stale, forbidding ways
Of custom, law, and statute, took at once
The attraction of a country in romance!

What Reason seemed the most to assert her rights,
When most intent on making of herself

A prime Enchantress-to assist the work
Which then was going forward in her name!

(f) The great events with which old story rings
Seem vain and hollow; I find nothing great:
Nothing is left which I can venerate;

So that a doubt almost within me springs
Of Providence, such emptiness at length
Seems at the heart of all things.

(g) The dragon's wing, the magic ring, I shall not covet for my dower,

If I along that lowly way

With sympathetic heart may stray,
And with a soul of power.

(h) 'Tis he whose law is reason; who depends Upon that law as on the best of friends; Whence, in a state where men are tempted still

To evil for a guard against worse ill,

And what in quality or act is best

Doth seldom on a right foundation rest,

To virtue every triumph that he knows:

-Who, if he rise to station of command,
Rises by open means, and there will stand
On honourable terms, or else retire,

And in himself possess his own desire.

(1) Name the poems from which the above extracts are taken and explain briefly the meaning of each in relation to the context.

(2) Notice briefly certain qualities in Wordsworth's observation of nature as exhibited in (a) and (c).

(3) Give an appreciation of Wordsworth's (1) blank verse and (2) of his lyrical ballad rhythm, and illustrate from the above extracts. How does Wordsworth's ballad rhythm in general differ from that of the ancient ballad?

(4) Compare the effects of the French Revolution on Wordsworth and Shelley.

2. Illustrate from any or all of the following poems, Andrea del Sarto, Diis Aliter Visum, Cleon, The Glove, Pictor Ignotus

(a) the qualities of Browning's style;

(b)

qualities of Browning's thought and fundamental ideas which inspire his poetry.

(c)

the place which the Dramatic Monologue of Browning holds in relation to our time and to the general development of the drama.

3. Answer any two of the following questions:

(a)

Give and discuss Arnold's comparison of Chaucer

and Burns.

(b) Compare the merits of Blank Verse and English Hexameter as vehicles for heroic narrative.

(c)

Compare Keats and Tennyson as (1) descriptive

poets, (2)

as metrists.

4. Explain precisely and illustrate the following judgments. by Arnold:

(a) "Between Cowper and Homer there is interposed the mist of Cowper's elaborate Miltonic manner."

(b) "The ballad-style and the ballad-measure are eminently inappropriate to render Homer."

(c) "Perhaps it is nearly enough to say to the translator (of Homer) who uses the hexameter that he cannot too religiously follow, in style, the inspiration of his metre."

(d) Byron has not a great artist's profound and patient skill in combining an action or in developing a character."